霍剛 抽象 2017-005 100x100cm 2017 油彩、畫布

「形色之外:霍剛米蘭回顧展」

Beyond colors and shapes :  A Retrospective of HO Kan

2018.06.09 — 2018.07.09

策展人CuratorSabine Vazieux

開幕Opening2018.06.09  11:00 am

地點Venue:義大利蒙札皇宮美術館  (Villa Reale di Monza, Italy)

1964年,台灣東方畫會的先鋒藝術家—霍剛來到米蘭,開啟了長達五十年的旅義生涯。在這將近六個世紀以來,始終代表著歐洲繪畫頂峰的國度裡,霍剛吸取了義大利繪畫的傳統特色,亦受到當時藝術氛圍影響。在義大利生活期間,結識藝術家Luccio Fontana, Roberdo Crippa, Wifredo Lam, Mario Nigro……等人,畫作風格也逐漸明朗 ; 盡情發揮色彩的誘惑力,同時表現出對形體的追求,將兩者滲透至書道金石的氣韻流動中,奠定了自身的獨特繪畫風格且貫徹至今。不同於一般的冷抽象,霍剛的幾何更帶有東方的靈性思維與詩意。雖受硬邊藝術影響,他卻不採用厚塗的大面積色塊,而是運用不加雕琢的筆法,使畫面有如素描淡彩般地輕快、飄逸。雖然形象的感官功能性被抹去,畫中依舊不難見到各種生活的語彙與童趣感。

五十年代的霍剛深受超現實主義之神秘性及自動性吸引,當時在意象的變形上著墨較深。初來乍到歐洲後,雖逐漸遠離超現實主義,畫中仍舊帶有深沉的神秘色彩與形象,有如籠罩在沈鬱幽藍華貴的氛圍裡。七十年代之後,霍剛確認了幾何硬邊的風格,十分關注造形的遊戲以及繪畫空間的嚴謹安排,捨棄一切象徵, 與一切固有的規範,以找尋一種全新的美感準則。此時期的霍剛,較為偏向Malevitch的至上主義,幾何形象是色彩的載體,玩弄同一個色系的塊狀組合,到達的境界好似Malevitch「非物質將我引入一片幸福的『沙漠』,這裡別無一物,只有感覺。」。2000年後,其畫中色彩更趨鮮明愉快,對比統一而和諧。近十年的作品則更加靈動,藝術家無拘無束地讓潛意識揮灑,用色奔放自由,造形時而平穩輕快,時而迴旋反覆,更有不少具象呈現,融合其一甲子以來的兩大創作風格,成就了超現實感的幾何抽象。

承蒙米蘭近郊蒙札皇宮盛情邀請,今夏本展回顧霍剛旅居義大利五十餘年的創作歷程,更首次呈現耄耋之年益發精進的抽象畫家霍剛與寫實雕刻家楊北辰共同創作的雕塑作品,在抽象與具象/繪畫與雕塑間,塑造一個外於形色的心之空間/心象空間。

In 1964, Ho Kan, a pioneering artist in Taiwan’s Tongfang Art Group, came to Milan, where he would spend the next five decades of his life. In this country, which had represented the peak of European painting for nearly six centuries, Ho absorbed the characteristics of traditional Italian painting and was influenced by the artistic environment of the time. During his time in Italy, he became aquainted with Luccio Fontana, Roberdo Crippa, Wifredo Lam, Mario Nigro, etc., and his style also slowly became bright and open. Bringing the use of colors to its full play and demonstrating his pursuit of forms, the artist combined his colors and forms with the charm of calligraphy and seal carving, establishing his own unique painting style that he has continued until the present day. Unlike the cold abstraction commonly seen, Ho’s geometric expression conveys a sense of Oriental philosophy and poeticness. Although he has been influenced by the hard-edge movement, he steps away from using thick, large color blocks; instead, he uses unadorned brushwork to create his image with lightness and briskness that resemble light-colored sketches. Although his forms do not seem to possess any perceptive function, one can still detect a variety of vocabularies from daily life and a sense of playfulness in his painting.

In the 50s, Ho was attracted to surrealist mysticism and automatism, and concentrated more on the transfiguration of images at that time. After he arrived in Europe, although he had gradually moved away from surrealism, his painting still demonstrated the dark, mystical colors and forms, showing a gloomy, melancholic and affluent atmosphere. After the 70s, Ho adopted the geometric style of hard-edge painting, and became immersed in creating forms and exact arrangement of space in painting. He renounced all symbols and existing rules to search for a fresh aesthetic standard. During this period, Ho leaned towards suprematism heralded by Malevitch, believing that geometric forms were a vehicle of colors and focusing on different combinations of color blocks in the same color scheme. By doing so, he was able to achieve the goal similar to Malevitch’s statement: “the happy liberating touch of non-objectivity drew me out the ‘desert’ where only feeling is real.” After 2000, the colors in Ho’s painting became brighter and more delightful, and the contrast more unified and harmonious. His works in the following decade seemed to be even more inspired. He wielded his brush freely, letting his subconscious run without restraint. His colors were exuberant and vivid, and his forms conveyed a sense of stability and lightheartedness at times and a feeling of rhythmic repetition at others. He also created more concrete images. This body of works has integrated his two major creative styles over the past sixty years, revealing a type of geometric abstraction informed with a surrealist quality.

Due to the heartfelt invitation by the Villa Reale of Monza in the suburb of Milan, this retrospective of Ho Kan showcases the artist’s works created within a span of more than fifty years. The exhibition also features for the first time sculptures created from a collaboration between this diligent abstract master, who is more than eighty years old, and the realist sculptor, Yang Pei-Chen. In between the abstract and the concrete as well as painting and sculpture, these collaborative works collectively materialize an inner/mental space that is beyond colors and forms.

 

【藝術家簡介】

Artist Introduction

霍剛 (HO Kan),來自中國南京。曾遠赴義大利,長居米蘭50年,近年返台定居。因緣際會受教於「台灣現代藝術導師」李仲生,以超現實主義畫風聞名。1957年,參加「東方畫會」,成為1960年代達到高峰的「台灣現代藝術運動」代表人物之一。1964年前往義大利米蘭,作品受到硬邊抽象等西方藝術概念影響,結合東方書法、金石印刻等創作元素,以極簡且饒富詩意的視覺語言發展出個人特有的東方抒情抽象。

霍剛早期創作主為超現實主義風格,作品充滿神秘主義與奇異性,然而創作的形制已開始著眼於幾何圖形的表現。定居於米蘭後,霍剛確立個人幾何抽象的創作途徑,並專注於繪畫本質的探究,從繪畫的基本元素:點、線、面與色塊,進而發展到整體構圖的研究,從中發展合乎藝術家體質的抽象表現。作品從「點」的元素出發,進行關乎畫面配置的哲學,生成各自的存在性,並以「減法」運行,簡約也蘊含詩意,建構了一個更具包容性的抽象世界,也呼應東方哲理主張萬物相容再生、孕育無限。2016年於臺北市立美術館舉辦個人大型回顧展「寂弦激韻」,作品亦曾於台灣、中國、義大利、瑞士等多國展出。

HO Kan was born in Nanjing, China. Before he came back and settled down in Taiwan, he had lived in Milan, Italy for five decades. Mentored by Li Chun-Shan, “the master of modern art in Taiwan,” Ho was known for his surrealist painting style. In 1957, he joined the Tongfang Art Group, and became one of the representative figures in Taiwanese modern art movement that peaked in the 1960s. In 1964, Ho moved to Milan, where he was influenced by Western artistic concepts, such as hard-edge abstraction. He then incorporated various Asian artistic elements, including calligraphy and seal carving, his work and created a minimalist yet highly poetic visual language that enabled him to form his unique style of Oriental lyrical abstraction.

Ho’s early work showed a surrealist style and was informed with a sense of mysticism and unusualness. At this early stage, he had already begun using geometric forms in his creations. After he moved to Mila, he fully focused on geometric abstraction and concentrated on exploring the nature of painting. He started with fundamental elements in painting, which were point, line, plane and color blocks, and later moved on to the study of the entire composition, in which he discovered the abstract expression suitable to his art. His painting usually starts with the element of point and evolves a philosophical arrangement of the image, in which each element exists in its own way. He adopts the method of reduction to create his work, rendering it simple yet poetic. His body of works forms an inclusive abstract world that echoes the Oriental philosophical concept that all things are mutually embracing and nurturing, which, in turn, gives birth to an infinite world. In 2016, Ho held a large respective at Taipei Fine Arts Museum, entitled Reverberations · HO KAN. His works have been exhibited extensively in Taiwan, China, Italy, Switzerland, etc.

 

本展法國策展人Sabine Vazieux 非常精彩的論述專文

「策展人談展覽」

本展為蒙札皇宮特別為台灣抽象畫的先鋒藝術家霍剛所舉辦的大型回顧展,回顧藝術家自1950年代到2010年代將近60年的藝術創作。此次展覽將不僅展出霍剛最具有代表性的幾何抽象畫作,同時也將向大眾呈現1950年代藝術家在台灣創作的早期作品、近年的畫作以及與雕塑家楊北辰合作的雕塑作品。

1949年,霍剛離開大陸,前往台灣。在台灣,他逐漸發現了西方藝術的魅力,並且熟悉了對當時亞洲尚屬陌生的油畫技法。這一系列的新發現讓在霍剛踏上現代主義的道路,仍保留其自身的文化根基。

在東西方的文化碰撞之下,霍剛用自己創造的獨一無二藝術,開展二十世紀中國繪畫的新局面。

[A展廳] 1950年代-1970年代:從台北到米蘭

霍剛1932年出生於南京的一個書香門第。在他父親不幸去世之後,霍剛搬去與時為著名書法家的祖父霍銳(或霍秋崖)同住。書法給予了霍剛許多藝術創作的啟示。幾年之後,他得以進入南京國民革命軍遺族學校。然而,實因時局的變化,霍剛遂在1949年離開大陸來到台灣,翌年進入台北師範學校藝術科學習。

然而,師範學校的課程過於偏向學院派,使得霍剛在1951年投入著名現代派畫家李仲生門下研習。李仲生注重因材施教,鼓勵每個學生尋找具有自我特色的創新風格。在當時,霍剛通過對西方藝術流派的探索豐富了他的藝術創作語言。他開始轉向超現實風格,在一張畫作中嘗試不同空間元素與主題的構成。1957年,霍剛與李仲生畫室的其他七位藝術家畫友共同創辦了東方畫會。直至1971年解散為止,東方畫會反對學院派畫風,在台灣現代藝術發展中發揮了至關重要的作用。

對於西方繪畫的興趣讓霍剛萌生了前往歐洲的念頭,他於1964年前往米蘭,並在此地旅居長達五十餘年。從這時起,霍剛轉向了幾何抽象,同時也保留了自身的亞洲文化。在他旅居米蘭的前期創作中,霍剛傾向使用一些陰鬱的藍綠色調,似乎是在回應他背井離鄉的的憂鬱情緒。

霍剛  無題 70x100cm 油彩、畫布 1975

[B展廳] 1980年代-1990年代:書法之符號與形態

在這段時期,霍剛的繪畫色彩更趨多元,表現更為歡快。

初看之下,他的部分畫作非常接近西方的抽象藝術,但另一部分採用比較自由的風格。他喜歡運用一些小黑線,就如同被風吹起的漢字,散落在繪畫空間裡。這種以抽象詩意風格闡釋符號的新方式,讓霍剛拓展出了無限的想像領域。圓形,方形,三角形以及在這些形態裡流動的空間,都是藝術家從中國書法藝術中提煉而成的。

霍剛  無題90 60x60cm 油彩、畫布 1990

[C、D展廳] 2000年代:完美的融合

霍剛在藝術創作的道路上更進一步,乃是將東西方文化的雙重性轉化為內在的真正融合。在此創作的巔峰階段,霍剛在形態與色彩之間實現了完美的和諧,他使用深色來中和「紅色」,「橙色」,「綠色」等色彩的亮度,完美地平衡了構圖。

在其《啟》和《開展》等系列創作中,畫作中小圓點的應用反映了「萬綠叢中一點紅」的中國美學理念。

源起之21 111x193cm 油彩、畫布 2006

[E展廳] 今日之霍剛:精神性

現在的霍剛創作到達了爐火純青的境界,他的藝術手法體現了深層的精神性。極簡構圖所表現的形態與色彩,與禪宗、道家等東方哲學思想相通,即運用最少的顏色和形式來闡釋極簡理念。

在他的創作中,霍剛創造一種抽象幾何風格,但從未走向純幾何的表現。他的線條揭示傳統書法藝術的活力與能量。

抽象2015-066 50×60.5cm 油彩、畫布 2015

[F展廳] 抽象之雙重性

這間展廳邀請我們去體察藝術家的想像世界與他所使用的符號象徵。想像力讓我們對霍剛畫作中的視覺元素進行一些可能的闡釋,如同中國漢字所引發的視覺感受。

我們觀察到一些具象的形象表現(如色彩斑斕的魚,如鳥等),但不要誤認為這只是偶然。這些巧合也正印證了道家「為無為」的思想,即以無為的態度去有所作為。

那麼,到底是抽象還是具象?對於藝術家霍剛來說,這並不是一個問題。對他來說最為重要的還是創作的樂趣。

象形之2 50x40cm 油彩、畫布 2007

 Beyond Colors and Shapes—From the Curator’s Perspective

The Villa Reale (royal palace) in Monza is holding a retrospective of the artist Ho Kan, who is considered one of the great pioneers of Chinese abstraction.

The exhibition is presenting works produced during an artistic career that has spanned almost sixty years, from the 1950s to the 2010s. It highlights his most emblematic abstract geometric paintings, and also traces the evolution of his art by presenting—for the first time—the works he painted in Taiwan in the 1950s. Also presented are his recent paintings and several sculptures produced in collaboration with the sculptor Yang Bei-Chen.

Ho Kan’s artistic career is marked by historical events that immerse us inexorably in the history of China and the extraordinary events that forced him to leave his country and seek refuge in Taiwan in 1949, and subsequently led him to embark for France in 1964 on the oil tanker “Vietnam”; he eventually settled in Milan, where he lived for fifty years.

At the end of the 1940s, he moved to Taiwan, where he gradually discovered Western art and learnt the technique of oil painting, which was relatively unknown in Asia at the time. In the new world that he discovered, he gradually discovered Western Surrealist and abstract art and learnt the technique of oil painting, which was relatively unknown in Asia at the time. The new discoveries enabled him to develop a contemporary style while expressing his deep cultural roots.

At a crossroads between East and West, he developed a unique art that led him to participate in the renewal of twentieth-century Chinese painting.

Room A

The 1950s–1970s: From Taipei to Milan

Ho Kan, who came from a family of scholars, was born in Nanjing in 1932. After his father’s premature death, he went to live with his grandfather Ho Rei, a renowned calligrapher who introduced him to art and taught him to paint. Several years later, he entered a military boarding school. Due to political events in China, he moved to Taiwan in 1949 and a year later he enrolled in the Department of Art of Taipei University of Education.

Finding the teaching too traditional, he joined Lee Chun-Shan’s famous studio in 1951, where he was encouraged by the master to develop his individual creativity. During this period, Ho Kan enriched his artistic vocabulary as he discovered new Western movements. He was attracted to the Surrealist style and was inspired to combine different spatial elements and subjects within the same picture. In 1956, Ho Kan joineded the Ton Fan Art Group, along with seven other artists and friends from Lee Chun-Shan’s studio. Breaking away from academicism, the group played a key role in the development of avant-garde art in Taiwan until it dissolved in 1971.

His fascination for Western painting led him to discover Europe and in 1964, he moved to Milan, where he lived for fifty years. He immediately focused on geometric abstraction, while maintaining his Asian cultural influences. During his first Milanese period, Ho Kan used dark blues and greens, echoing the melancholy he felt as a result of his recent exile.

Room B

The 1980s–90s: Calligraphic Signs and Forms

During this period Ho Kan used a broader and more exuberant palette of colors.

At first sight, some of his geometric works were closer to Western geometric abstract art, while others were more expressive. He painted small black lines, evoking disconnected Chinese characters that seem to float in the pictorial space, as though randomly blown by the wind. The fresh approach to the representation of signs, which was abstract and poetic, opened up an infinite imaginary repertoire. The circles, squares, triangles, and the space around these forms were all references to Chinese calligraphy, which he simplified, retaining only the structure.

Room C

The 2000s: A Perfect Fusion

Ho Kan developed his art and transformed Eastern and Western cultural duality a veritable fusion between the two cultures. This was a period of mastery in which Ho Kan succeeded in creating a perfect harmony between forms and colors. He used dark colors to attenuate the luminosity of colors such as red, orange, and green, which gave the composition perfect equilibrium.

In the series “Origine” and “Développement,” the use of small dots in his paintings was influenced by Chinese aesthetics: “a single touch of red amongst thousands and thousands of greens.”

Room E

Ho Kan Today: A Quest for Spirituality

This mature period also highlights the omnipresent spirituality in his artistic approach. The simplification of forms and the restricted use of color in his compositions echo Chan Buddhism and Taoism, which both advocate simplicity via a minimal use of colors and forms.

Throughout his artistic career, he has developed an abstract geometric style but has never succumbed to a pure geometric style; underlying his lines are the calligraphic vivacity and energy of his cultural heritage.

Room F

The Ambivalence of Abstraction

In this room the viewer is invited to contemplate the artist’s dreamlike world and the symbols he uses. One is tempted to imagine possible interpretations of visual elements that seem to exist in his paintings, in the same way that Chinese characters sometimes evoke figurative visual forms.

Although it is possible to discern figures (a colorful fish or a bird, for example), they are quite incidental. They happen to be coincidences that might correspond with the Taoist philosophy of Wei Wuwei (meaning “accomplishing without doing”).

So, is his art abstract or figurative? Ho Kan does not see this as particularly important—what really matters to him is the sheer pleasure of painting.

 

【策展人介紹】

Sabine Vazieux(莎賓.瓦季尤)(法國人,1972-)是鑽研現代藝術的歐洲專家聯盟(l’Alliance Européenne des Experts)成員,以往專攻西方的戰後抽象繪畫,近幾年來致力於探索東方亞洲文化和西方藝術美學的對話。

身為歐洲戰後抽象藝術的專家,Sabine Vazieux近年來積極地投入亞洲抽象先鋒的研究,如東方畫會霍剛、夏陽、蕭勤、蕭明賢、李元佳…憑藉著自身的專業敏感度,她開始策展1950年代至今的抽象藝術作品。在研究與發現這批先驅藝術家的過程中更激勵她走遍世界各地去拜訪他們,她不畏艱難地走訪多位前輩藝術家的工作室,更讓這些作品有機會進入世界級博物館以及名藏家的收藏中。此外,Sabine Vazieux也和多家博物館合作,透過畫廊與博物館機構的合作,這些藝術家將能夠更廣泛地被認識。

2017.6.15 – 9.24在比利時Ixelles Museum(伊克塞爾博物館),FROM CHINA TO TAÏWAN : Pioneers of Abstraction 1955-1985 《從中國到臺灣 : 抽象藝術先鋒 1955-1985》,參展藝術家有趙無極、朱德群、李仲生、陳庭詩、劉國松、霍剛、蕭勤、蕭明賢、李元佳、林壽宇…是西方國家第一次回顧20世紀華人抽象藝術家的創作起源與演變的特展,此展覽由Sabine Vazieux策展,意在溯源中國抽象繪畫的發展。

[ 學歷 ]

法國,巴黎第四⼤學,索本Sorbonne⼤學。1990-1995
藝術史學學⼠與藝術史學碩⼠。專長:⼆⼗世紀歐洲藝術

[ 經歷 ]

比利時,布魯塞爾 Ixelles 博物館,「從中國到台灣:抽象藝術先鋒」⼤展策展⼈ — 2017
法國,巴黎,WEast Collection收藏協會會長 — 2010—至今
私⼈收藏協會創辦⼈與計畫執⾏⼈。管理旗下藏家的作品運⽤。期望透過展演的推動,帶領華⼈藝術在歐洲的發展。
法國,巴黎,AEE – Alliance Européenne des Experts d’art — 2005—至今
歐洲藝術專家協會成員。主從事戰後抽象藝術。
法國,巴黎,拍賣鑑定師顧問 — 2000—至今
⼆⼗世紀歐洲繪畫市場,主攻戰後抽象藝術與巴黎畫派。
法國,巴黎,Galerie Sabine Vazieux,經理⼈ — 1998—至今
畫廊東主。過去主要經營⼆⼿市場買賣,專注於20世紀歐洲藝術發展與脈絡。研究過程中發現於趙無極、朱德群等⼈的藝術賦予西⽅抽象藝術新的視野,故熱切尋求該時代的華⼈抽象藝術⼤師。近年來積極投入亞洲抽象繪畫於歐洲的推廣。
法國,巴黎,LOUDMER 拍賣會,展會策劃師 — 1995—1997
法國最⼤拍賣公司,展覽規劃與設計。

 

【展覽地點】

義大利蒙札皇宮美術館  (The Villa Reale of Minza, Italy)

【讓世界因為藝術看到台灣,是采泥的堅持與相信!】

謝謝霍剛老師

2018年6月9日
采泥藝術天使三團在米蘭近郊蒙札皇宮美術館,共同見證「形色之外-霍剛米蘭回顧大展」,他以86樂齡回到生活50年的故鄉米蘭回顧展。

開幕當天來自歐洲、台灣、中國的貴賓近600人出席,台灣駐教廷李世明大使也專程自梵蒂岡飛來米蘭祝賀。真正讓我們見識到霍剛米蘭50年的生命蘊底。

誠如開幕典禮中采泥的總經理林清汶向在場的霍剛在義大利的老朋友們承諾:感謝你們照顧霍剛50年,我們也會在台北好好的照顧霍剛,請大家放心!這是一份心意、也是一份責任、更是對華人世界難得出現的這位藝術家的尊重!

霍剛當天的致詞令我們十分感動,他說我雖然86歲了,但還要再繼續創作,將最好的作品呈現給大家。
簡單極不簡單,純粹更有力量,無疑地霍剛樹立了一個藝術家的風格與典範。

這一趟看似簡單實則過程曲折離奇困難重重,畢竟策劃國際展覽的確不容易,不管是策展論述、美術館接洽聯繫、宣傳計畫、貴賓邀請、展覽佈展⋯都是關關難過關關過,絕非一蹴可幾。若非這個簡單的堅持,若非采泥藝術這群熱愛藝術的美力團隊,這個米蘭大展與天使第三團是無法成行的。

感謝天使第三團的成行,既承接了天使第一丶二團的動能,也蓄積了未來天使第四、五⋯團的能量,讓這棵為藝術而生的天使之樹能夠從播種丶萌芽到逐步茁壯。

透過天使計劃推動藝術到全世界,讓世界因為藝術看到台灣,是采泥此生的堅持與相信!